This was indeed an auspicious occasion. It was not like any other Acoustic Sussex gig to date; it was something very special, a rare event which we thought we would never see again. It was a platform for a great performer of old; making a comeback, who was very popular in the late 60s and early '70s and still is today. Old friends and fans had travelled from far and wide to mark the occasion (Richard Digance and Jonathan's old manager, Dave Stringer among them).

The stage was impressive, being set in the Baronial Hall of The Ravenswood, Sharpthorne, Sussex with shields, swords and tapestries adorning the walls, an enormous stone-built inglenook fireplace, compete with a roaring log fire emitting a slight gorgeous perfumed smell of wood-smoke. Even the name Ravenswood seems to conjure up of something mysterious and mythical. I wouldn't be surprised if Cursed Anna hangs out here. 

Jonathan Kelly took to the stage, perhaps apprehensive and nervous - but who wouldn't have been; after all it has been the better part of 30 years since he had been performing, apart from a couple of gigs last year. There was a lot of emotion in his delivery and after a few mistakes (to be expected), he finished the first song - the popular Madeleine - with a lump in his throat and declared "The first one is the hardest" But he soon regained his composure and carried on. He said "If you're here tonight to get chilled out, forget it! We're here to have a party" and that was something all of us did. 

He had made out a set list while he was nervously waiting in the wings, but didn't follow it strictly and treated us to a range of songs, some old, some new compositions and some great Bob Dylan covers, including Tomorrow is a Long Time, Just Like Tom Thumb's Blues and Like a Rolling Stone.

As the set progressed the guitar playing became more confident and all the old qualities came flooding back, occasionally fading in and out like the signal of Radio Luxembourg used to in the old days. I couldn't help thinking of Jonathan in his heyday, with long dark hair and beard absolutely brimming with original talent. Boy! the girls must have loved him and gave him little peace. The epitome of Hippydom, perhaps a bit like I was except for the hair colour and the flocking girls of course. All the old qualities were there in abundance, slightly tarnished by lack of practice, but nothing a little tightening up wouldn't correct. Anyway, back to the performance. Jonathan wanted the audience to provide the percussion and they did so with enthusiasm and pretty good timing. After that, it was not just a Jonathan Kelly revival concert but one with the audience supplying vocals and percussion as well. 

By now Jonathan was clearly enjoying himself and so was the audience. As a result of the good reception, Jonathan's confidence visibly grew by the second and the guitar playing and the singing became more bold. At the very end of the performance he did "The Ballad of Cursed Anna" and it was brilliant - just like old days only with the absence of a little practice. He was enjoying himself so much, we couldn't get him off stage and the concert finished very, very late. 

Other songs performed were (forgive me if I have omitted some, but there were fortunately so many); Madeleine, Best Of Times, I'm Working, Eileen, Julia, Hummingbird, Sligo Fair, Lonely for You, We Are the People, Thank You Mrs Gilbert, I Used to Know You, Hold On (segued with Stephen Stills' Love The One You're With!)  All Over Town, Train Song, It's What I Do, Rainy Town and, for a well-past closing time encore, the lovely Rock You to Sleep. Whew! 

Jonathan was an all-round nice guy, an archetypal, slightly ageing hippy and it will be a long time before we forget him. To quote one appreciative audience member, "Fantastic evening - and short of Nick Drake or Jeff or Tim Buckley dropping in, one of the most unexpected. To those of us who warmed to 'Madeleine' and 'The Cursed Anna's Stare' in the 1970s, the idea that we would ever hear them live done by the man himself seemed extremely improbable."

There will always be a special place for him in our hearts at Acoustic Sussex and we eagerly look forward to his future exploits. We hope to be so honoured as to be part of them as we were at the Ravenswood on the evening of the 6th February 2006. Jonathan, as you used to say…… Love and Peace…. You've got the first; let's hope you get the second, if you haven't already got it.

The unenviable role of playing support for Jonathan Kelly's phoenix-like return was Roger Davies, a highly personable Yorkshire lad who now lives in Brighton and teaches songwriting. Sensitive to the occasion and keen not to outstay his welcome in Jonathan's presence, he treated us to a short but most enjoyable set of songs about things in his life which were important to him. Songs describing the origins of his cultural background; where he had come from, the nearest big town of Huddersfield and the football team he supported and owed his allegiance to. At the other end of the spectrum, a song about the idol of his earliest years, James Dean. His performance was confident, his guitar playing was accomplished and his songs were interesting, very often striking a familiar chord with the audience. His voice was clearly projected and added a lot to his songs. Songs performed were; Northern Trash, Old Fashioned Man, Beer Belly Blues, Huddersfield Town, James Dean, You're The One I've Been Waiting For and Little Town.

Review courtesy of Bob Preece